The association of divinity with blue goes back much further than Rublev and fifteenth century Russia. And the color of where you can never go.īlue, therefore, would seem to be a particularly apt colour with which to represent divinity.
The color of that distance is the color of an emotion, the color of solitude and of desire, the color of there seen from here, the color of where you are not. She continues:įor many years, I have been moved by the blue at the far edge of what can be seen, that color of horizons, of remote mountain ranges, of anything far away. It is the ‘light that does not touch us, does not travel the whole distance, the light that gets lost’ which ‘gives us the beauty of the world, so much of which is in the color blue’. As she explains, the sky is blue because light at the blue end of the spectrum is scattered by air molecules as it travels from the sun to us. In A Field Guide to Getting Lost, Rebecca Solnit discusses ‘the blue of distance’. In Andrei Rublev’s icon of the Trinity, all three figures have blue in their clothing: a bright azure blue which stands out from the predominant warm golden yellows.Ĭommentaries on the icon refer to this as the blue of the sky, representing divinity. Investigating the correlation of blue with divinity takes us down some surprising and intriguing avenues.
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